AAP 2020 여름 학회 발표
서울예술단 가무극 <잃어버린 얼굴 1895>
The Association of Asian Performance 2020 여름 정기학술대회에서 서울예술단 가무극 <잃어버린 얼굴 1895> (2013)에 대해 발표했습니다. 황루시의 넋굿과 연극성에 대한 논의에서 착안하여, 현대의 관객을 위해 과거사의 논의의 장을 여는 가무극 <잃어버린 얼굴 1895>가 어떻게 극 구조적 굿을 통해 무대 위에 (귀)신과 산 자의 대화의 장을 열고, 무대를 현대와 과거에 대한 논의를 잇는 중간지대인 굿판으로 변모시키는지 살폈습니다. 본 발표는 더 나아가 <잃어버린 얼굴 1895>가 전통적 의미에서의 굿의 마무리인 '화해'에 의도적으로 의문점을 남겨, 굿의 극적 변용을 통해 포스트메모리 논의의 불씨를 남겨놓는다고 논하였습니다.
Abstract
Haewon-gut is a form of a Korean folk ritual, which unpacks a discourse around an unhealed trauma of an individual or a nation. It leads spectators’ discourse to the resolution through a conversation with spirits. Seoul Performing Arts Company’s gamuguek (music theatre) Lost Face 1895 (2013) adapts the form of haewon-gut on the stage, revisiting an unresolved national trauma by the Japanese colonization of Korea—which is often represented by the murder of the Empress Myeongseong, whose face is still unknown in mystery. On the stage, Lost Face summons Myeongseong’s spirit along with her contemporary historical figures who died in han (resentment), following steps of the gut ritual such as shincheongulim (calling the dead) and burning a soji (sending off the spirit). Closely analyzing the theatre script and the playwright Seonghee Jang’s interviews, I argue that Lost Face is a peculiar adaptation of gut, compared to other contemporary Korean staged adaptations of gut. Lost Face, this ritual-like music theatre, serves various clients (who have commissioned the ritual) in idiosyncratic standpoints, while the actual gut ritual serves clients in a consensus view of the dead and reconciles resentment into a sole image to which the livings fixates the dead in harmony. By collecting testaments by clients and spirits, Lost Face diversifies perspectives towards the Empress Myeongseong, her life, and the national trauma of Korea. As a “theatre” that adapts the form of gut, Lost Face further opens up the theater house as the space of discourse to its contemporary audience, which is to be remembered, complexed, and continued as the unresolved national trauma.
PPT 일부
